Juicebox #3

JUICEBOX ISSUE #3

Contents Fashion News What is happening with the lead up to Graduate Fashion Week?

FEATURES Elliot Rose Holly Knowles Jessica Calderwood Lillie Cooper Natalie- Catherine Bell Polly Duff

T E A M Letter This current issue is all about you, by you we mean Identity. The semiotics of fashion appear to be more important than ever, as daily our wardrobes offer us a variety of guises to suit our moods and various facets of our personalities. In this edition we are looking at style and encouraging everyone to follow their own vision. In the words of the fashion icon Diana Vreeland, “Bad Taste is better than no Taste!” We bring you Kitsch pink beauty queens sitting next to dark Italian glamour.

Saint Laurent was responsible for the modern woman’s wardrobe; Holly Knowles plays homage to his legacy on page.... With the major retrospective of Italian fashion at the V&A, Natalie Bell explores Italian glamour and their effortless style. Showcasing our kaleidoscopic take on current fashion, we have drawn inspiration from people who have shaped our thinking. We have interviews with fashion pioneers from Felicity Green, the first female editor on Fleet St to Caryn Franklin, needing no introduction with her high profile career spanning from the original Editor of i-D magazine to being a Fashion Activist. Welcome to issue three and remember, your style is as unique as you.

The Team

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London, Paris and Patrick An insight into the working fashion world- London vs Paris An Art Form How to wear the new bold print trend taking over this seasons wardrobe.

NEWS Abbie Niroomand-Rad Alice Willson Amy England Jessica Brooks Paige Cronin Tiya Muluzi Zeenah Fazal

The World of L’Enfant Terrible With the exhibition now open at the Barbican, is there more to Gaultier than camp telly and a conical Bra? Life in Fashion Cupboard Hear the real stories of working in the fashion industry.

STYLISTS Anastasia Senroka Becky Lightbody David Daley Jenna Pihkola Matthew Anderson Nataliya Klovak Nathan Henry Sara Babikz

Caryn Franklin – At the Cutting Edge Will Caryn Franklin’s challenge to embrace diversity in fashion identity be taken up by fashion students?

Still Yves without the Yves?

All Hail Yves! With two films in the pipeline on Saint Laurent, it is time to look once again at his classic modern pieces.

PHOTOGRAPHERS Alisa Milchevskaya Natalie Camilla Hepworth Nicole Patrice

Seventies Seduction Enter the world of 1970’s jet set glamour, where the YSL sleek and sexy look is essential.

PRODUCTION Paula Prakapaite Stephanie Aboagye

Style Vs. Fashion What's more important: style or fashion?

Pink Power Proving that there’s no such thing as too much!

ART DEPARTMENT Alex Miller Emily Vinter Gemma Elliott Grace Gibson Jasmine MacPhee Lacey Teoli Mayang Adista Putri Nadia Shaikh Samm Bate Shawn Wilkinson Clarke

An Audience with Felicity Green OBE Meet the inspiring first female editor on Fleet Street.

XX XY We showcase a new look for men, after a shift from the heritage masculine aesthetic.

The Glamour of Italian Fashion Natalie Bell explores the world of Italian fashion and effortless style.

ONLINE EDITORS Elizabeth Fowler Victoria Simpson

Italian Icon Live La Dolce Vita in our clean take on classic Italian cinema.

Why White?

We delve into the history of wedding dresses, following the news of the exhibition at the V&A.

@Juicebox_mag www.jucieboxmagazine.co.uk

Manifesto … reveals their 10 style tips.

Event Directory Your ultimate guide to what’s happening this coming season.

F A S H I O N News

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This year Graduate Fashion week makes a change for its 23rd year, a move to The Old Truman Brewery. The industrial building is in the middle of London’s creative district, in East London and is well placed for the fashion industry with great transport links to the area. The location has a history of creative events and hosts some of London’s best markets. Tickets for the four-day event are already on sale, and will display over 1,000 graduates work that come from universities from all over the UK, and internationally. Over 42 universities will be there, and the event will have live photo shoots, digital cinema, 20 catwalk shows, and interactive talks, with the awards ceremony talking place at the end of the week to celebrate some of the best students. The hope is the move will mark a new era, ‘one of London’s most vibrate, creative areas.’

The week takes place from Saturday May 31st Tuesday to June 3rd.

FA S H I O N S C O U T This year Graduate Fashion Week has partnered with Fashion Scout and Vogue Italia Talents to present the international catwalk completion 2014. Leading fashion universities from around the world are all invited to enter their top graduates collections into the competition. From the universities selected they can then only enter one graduate from a BA course collection. The panel of judges includes industry experts and is headed by the senior Fashion Editor at Vogue Italia, Sara Maino.

The winning designer receives £1,000 and the university they graduate from gets £500. The collection will also then be on display at Fashion Scout during London Fashion Week September 2014. The judging and catwalk show with take place on 3rd June at GFW.

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This year the pop up store is back at the Truman Brewery, from 27th February - 25th May. The seven-day a week pop up is a whole shop full of designer clothes at reduced prices up for grabs. Open from 11 6.30pm it’s the ideal place to buy discounted accessories and clothing.

There’s a wide range of designers on offer from Marc Jacobs, Gucci, Celine, Belstaff, Chloe, Jimmy Choo to Vivienne Westwood, and if you can’t find a bargain here then you never will!

The Brewery’s a great location, amongst restaurants, market stalls and other shops, the designer outlet will be located in Shop 13.

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TEXT: ZEENAH FAZAL, ILLUSTRATION: GEMMA ELLIOT

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This year it would seem not everybody was as taken with the idea of presenting their collections at Graduate Fashion Week. Ravensbourne have dared to be different and are holding their own in house show.

While all the graduates will still be attending GFW and will have a stand, which is sure to be as great as previous years, they will not be having a show during the weekend. This year The Degree Show will host Ravensbourne’s fashion shows. The event, which takes place from 16- 20th June, will be held in house and will feature all the work of Ravensbourne’s upcoming graduates. During this time they will have two shows, and will play host to many industry professionals, whom are all coming purely to see the work produced here, which says a lot of the standard they are used to from Ravensbourne. The event is sure to be a big display and if previous years are anything to go by, then a huge success showing some great talent.

This year Graduate Fashion Weeks making a big move across London to The Truman Brewery, heres all you need to know about the exciting new location and whats in store for the graduates.

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Every street I walk is appreciated by my artistic side

Jessie Brooks discusses the correlation between two major capital cities, their relationship with Fashion Week and what not to do if you meet Patrick Demarchelier.

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Working life in each of the cities is so mind blowingly’ different, I never realised that the same job role I have been doing for 3 years could feel so daunting. Within 10 minutes of pulling in at Gare Du Nord, I could tell stepping off the Eurostar was going to change the way I work forever. Everywhere I looked there was effortless style and a sense of great taste in everyone that strolled past us.

From the train station I made my way straight to the office to set up camp. On my journey there, I realised the city was not named the Fashion capital by accident, every street I walk is appreciated by my artistic side and its apparent where the difference lies between the two capital cities. Paris looks, dresses and celebrates fashion, London effortlessly wears fashion but the majority of citizens just put up with it. My theory is if you take the fashion out of London, street style continues and not much changes, London will continue to be one of the greatest cities in the world and the citizens will continue to be not so bothered about whether fashion is present or not. If you take the Fashion out of Paris, there will be a whole left in the city that oozes style.

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When working the catwalks, season after season I see central London’s streets look just as busy and just as brutal as always, no please or thank you and if you’re unfortunate enough to get shoved by an angry commuter then please do make your life easier by trying not to expect an apology - London is always in a rush and we make no apologies for it. No matter how light hearted you are, you will manage to get caught up in the rush of the London streets and if you stick your head up for a moment you will notice that fashion week is nothing but a disruption for the heart of the city. Fashion week is somehow over looked in London. Unless you are a hardcore fashion fan girl or, you’re a part of the event itself, the whole thing appears to the rest of

London’s population as a nuisance and not much more. Paris on the other hand is a whole different ball game, walking the streets feels like leisurely stroll and people seem placid and willing to acknowledge those around them. The rush isn’t present the way it is in London and Fashion Week doesn’t feel like its interrupting everyone’s day, the commuters are happy to smile and appreciate the parade of 6ft something’s waltzing around the metro lines and turning heads. The shop owners even greet you each morning with ‘happy fashion week!’.

TEXT & IMAGES: JESSIE BROOKES ILLUSTRATIONS: MAYANG ADISTA PUTRI

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But of course, it is nothing short of entirely my fault when decides he doesn’t want to stay at the party any longer. No two days are the same but as I explore fashion week in the rest of the world I realise the same issues occur worldwide but boy, do we handle them differently. I now start to wonder, what does Fashion Week mean to us?As a born and bred Londoner, I am confident in saying that we have (by far) the best street style in the entire world and our patriotic side is what makes British fashion known as super cool. However, with all of that said, I can’t help but admit that no matter how cool our outfits look, we will never carry ourselves quite as cool as the Parisians do.

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As a Fashion Week intern, no twodays are the same, and no matter how much we plan, nothing is guaranteed to run on time.

How am I to know that it’s not okay to stroke Patrick Demarchelier’s hair when having a picture with him?

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“We will never carry ourselves quite as cool as the Parisians do.”

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Fashion week is somehow over looked in London

A N A RT FO R M Photographer - Alisa Milchevskaya Production - Paulina Prakapaite Stylists - Anastasia Senroka & Natali Klovak Words - Jessica Calderwood

Phoebe Philo the creative director of Celine introduced the painterly print. The Spring/ Summer 2014 collection shown in Paris was still famously minimalist and elegant, yet was energetic and striking with a monochromatic theme splashed with primary colours. The shapes and fabrics of the garments intensified the print with strong asymmetrical lines that juxtaposed the playful strokes.

With summer finally emerging, so is a new print trend. Instead of a surge of ditsy floral prints and soft pastels occupying the high street, a confident brash brushstroke is making a statement.

T-shirt - Zara Shorts - Zara Shoes - Aldo

Top - Zara Skirt - Zara

Sticking to the brand’s French heritage, the original photos shot by Brassai of graffiti found in the centre of Paris, published in 1961, were a clear reference. He was best known for capturing Paris at night and praised the graffiti that had been added to over the years by the younger generations since the war for influencing young minds. The images come to life by themselves and this is true of Celine’s collection.

T-shirt- River Island Suit- Topman Shoes - Aldo

It also is reminiscent of the Club to Catwalk exhibition at the V&A museum, which closed earlier this year. Garments and accessories are scattered around the gallery adorned by similar graffiti style, with smudged paint strokes. Many of these were the beautiful and exciting work of 80s designer Betty Jackson. The freedom combined with the use of shapes and colours were celebrated in her collections and matched the unrestricted attitude that fashion brought to London during that period.

Dress - Zara

Shirt - River Island Trousers - Zara

Many high street stores have adopted this technique by taking simple silhouettes and shapes and applying the fun assertive print. Zara has mirrored the bright contrasting colours that Celine showed in boxy dresses and tops, as well as adding movement by printing on pleats. The recent release of the Marks and Spencer’s Leading Ladies campaign features Alek Wek wearing a dropped hem midi where the earthy toned curved painterly strokes bring the dress to life. The print can be interpreted differently with the use of colours, styles and shapes, and therefore differs each time we are presented it.

Top - Zara Trousers - Zara Shoes - Aldo

Brassai explained in the press release in 1956 that the graffiti imagery is “interesting them (youngsters) not only in the shapes and patterns but also in the emotional expression these images may have�. Fashion should be emotional, free and expressive and this print injects some of this passion and undeniable art back into clothing.

Shirt - River Island

T-shirt - Topman

W o r l d o fL’enfant Terrible

ing from Richard Branson he co-hosted the programme with Antoine de Caunes, it was a ‘late night comical review and weird and wonderful topics from around the world’ (for the most part focusing on central Europe.) The show at the time was an important hit for Channel 4, during its ten years of running the show built up around fifteen million fans with Jean Paul Gaultier and co-host a hit as presenters.

Now, watching clips back from Eurotrash, its without doubt a very strange and sexual representation of Europe and the times, but to see Gaultier present and his personality and actions come through as a presenter makes it strange to consider such a character capable of creating some of the most stunning and beautiful pieces that couture fashion has ever seen. His ever-changing façade and various talents don’t stop there; in 1989 Gaultier also released a dance track called ‘How To Do That’ which was written and co-produced with English musician Tony Mansfield. During the time of 1989 he also had Hamish Bowles, the editor in chief of Harpers & Queen (now Harpers Bazaar) walk catwalk for Gaultier. I also couldn’t talk about Gaultier’s career without mentioning him becoming successor of Martin Margiela with his long running role as creative director of Hermés (from 2003-2010). He was said to have left to ‘focus on his own collections.’

With an immense focus on identity this issue, I feel that there is no greater representation of self-discovery and creating your own individual ‘identity’ than that of French born designer Jean Paul Gaultier. Ahead of his first major exhibition devoted specifically to the designer, starting 9th of April the public are invited to view Jean Paul Gaultier’s life work and the great impact he has had on the fashion world. The Fashion World of Jean Paul Gaultier, From the Sidewalk to the Catwalk is due to showcase in London’s Barbican this month and we thought what better way to get excited for what’s sure to be a flamboyant magnificent display than taking the time to look back to appreciate and remember the talented man himself. Being one of the most inventive and influential designers over the past three decades, his eccentric and controversially radical ideas have been both successfully praised whilst also receiving a great deal of criticism all at the same time.

Identity is something that defines us and is the key to making a person recognisable both socially and culturally. Every so often there comes a character that thrives to ‘break the mould’ and through out the last thirty or so years Jean Paul Gaultier has definitely done so within the fashion industry. Identity defines a subject and when that identity is disrupted and challenged by an individual it can cause an array of responses, and in Jean Paul Gaultier’s case it has been the key to his triumph.

From Arcueil, a suburb in Paris, the long-running fashion capitol of the World, Gaultier unquestionably brakes away from the traditional values of the city and culture in which he was born.

Earning himself the title of “L’enfant terrible” the French expression, originally referring to a child who may say embarrassing things to adults, now holds many connotations of a successful ‘genius’, who in some cases can be offensive or rebellious.

Classically, they are someone who challenges an establishment, and Jean Paul Gaultier has undeniably done so since the debut of his very own collection. Aged 18 and without any formal training or education in fashion, Gaultier began to work as Pierre Cardin’s design assistant, going on to create an American collection for Cardin. Working under a fashion brand makes it difficult for a person to have his or her own style or identity, as you are working

to create something to suit someone else’s style but it was in 1976 when Gaultier released his first collection that he began to creatively flourish, featuring clothes made from woven place mats, that was ridiculed by the press. It was then the release of his retro ‘James Bond’ collection in 1979, backed by the Japanese textile manufacturer Kashiyama that received him international attention.

As time went on he became best known for his gender bending styles by putting women in pinstriped suits and men in skirts, playing with the components that made up fashions very traditional ideologies. Receiving a lot of coverage from Vogue in the mid-late 80’s his name was becoming very well known, and in 19 87 the French Federation of Couture honoured him Ready to Wear and Creators of Fashion for best Spring Collection.

Gaultier strives to revert clichés of both masculinity and femininity, in response to the feminist concept that fashion objectifies women, his first menswear collection, ‘L’homme objet’ featured men wearing skirts. Influenced by the punk subculture, Gaultier was said to use “bad taste” in an effort to break taboos. Gaultier is not only a worldwide success in the fashion industry; he has also had great succession in costume and set design working on several films in his time. His most well known costume design was probably for the 1989 film, The Cook, The Thief, His Wife & Her Lover. The ‘British-French romantic crime drama’ features violent and nude scenes and at the time of its release was noted on its formalism and was said to be extremely lavish, due to its content the film was X-rated, Jean Paul Gaultier’s involvement in this type of film reflects his style to push boundaries and his blasé attitude towards sex, his work in the film was noted from the scene where every time a character entered a new room their costume would change to represent the new room, showcasing his designing talents. Gaultier was most notably known in the TV industry for being the host of Channel 4’s Eurotrash, one of the UK’s longest running late night TV shows. I have memories from being younger that Eurotrash was something that my mum definitely wouldn’t approve of me watching, and at the time from a child’s point of view I knew that the programme was certainly for adults only. Launched with back-

TEXT: POLLY DUFF IMAGES:

With his first major exhibition to hit London this month, we take some time to appreciate the iconic designer that is Jean Paul Gaultier, from his obsession with cultures to the styling of Madonna we explore how one man has shaped the fashion industry for the past forty years

Jean Paul Gaultier has become synonymous with sex and provocation through out his career, over indulging the use of leather, designing bondage replicas for accessories and most importantly his role in turning underwear into outerwear. During his late 80’s success, Queen of Pop Madonna approached Gaultier and requests for him to design for her Blonde Ambition tour, which was when he created the infamous cone bra that has become an iconic piece for both him and Madonna worldwide. Madonna had once said to like Gaultier’s designs because of ‘the combination of masculine and feminine,’ he later went on to design for her 2001 Drowned World Tour and her 2006 Confessions Tour, and over time has built a close relationship with the Queen of Pop. It wasn’t just one iconic popstar that Gaultier has designed for, he also created stage costumes for Kylie Minogue; the singer is renowned for her flamboyant and theatrical stage wear during her performances with Gaultier being one of her most used designers. When looking into Gaultier’s identity and his life’s work for this article I posed the question to a few close gay friends whether they thought of him as a gay icon, and initially they thought no, they didn’t see Gaultier himself as a ‘gay icon’.

But looking into Gaultier’s past work and the many different sides that make up this creative, flamboyant daring man I feel that he should have more recognition, if it’s not him personally as a man that is the gay icon, he has certainly contributed to a lot of iconic gay attributes through out the last three decades. He has, as previously mentioned designed for worldwide gay icons such as Madonna and Kylie and his iconic ‘sailor’ image has become apart of his identity. He also broke down the boundaries of masculinity and femininity, continuously using fashion as a way to deconstruct conventions of sexuality and gender, with men in high grazing skirts and women in tailored suits since 1984. Gaultier has been heavily involved in HIV charitable causes, following his partner’s death in 1990 to the illness, designing clothes for Born HIV Free. I feel like it might be almost unfair for him to not be considered iconic, especially within the gay scene, as through out history he has helped shape and change out-dated, traditional views toward sexuality and gender. Not to mention Gaultier’s current muse

“I took a rare bird feathered hunting hat back to Purdey. I just popped it in a paper bag. The looks I received when I took it back could have killed! The shop assistant even got a magnifying glass out to inspect it.”

To save money on bikes to return things I spent a lot of time taking items back to shops myself. I got a break from the cupboard, got to learn the streets of London a lot better and stop and have a cheeky browse in shops I wanted to go in myself.”

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LIFEIn A Fashion cupboard

“I was told by my boss at the time never ever to be a fashion stylist.”

“I sat on a suitcase of bags to make it close, I heard an awful crunch and my heart stopped. Yep it was the crystal handle of the one off Jimmy Choo handbag.”

“A fashion cupboard can make you or break you. Literally.”

“Tip for future fashion interns – Do not try on items in the fashion cupboard. A £20 000 ring could get stuck on your finger.”

TEXT: GATHERED BY AMY ENGLAND, ILLUSTRATION: GEMMA ELLIOT

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“Luckily for me some male models paid a visit to the office one day.”

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“After a shoot I witnessed the stylist crying all the way home on the bus, awkward. She told me to never go into the fashion industry.”

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There is so much to Jean Paul Gaultier, whether it is his life work and career, his personal life or his character with his unique identity he has crafted for himself, there are so many different attributes that make up this slightly crazed yet wonderfully talented man and with his gift to shock, yet be a huge success at the same time Gaultier’s identity within the fashion world will sure to have a lasting impact.

His exhibition, running from the 9th of April 2014- 25th of August 2014 is highly anticipated and is set to display the many different facets of the man. The dramatic and theatrical exhibition hosted at The Barbican, London, brings together more than 165 cutting edge couture and ready to wear garments. The exhibition also showcases his iconic work for film and TV, even the infamous Madonna conical bra and corset will be on show, also pieces design for Kylie Minogue among others are also featured. Together with footage of catwalk presentations, music, concerts, videos, dance performances and collaborations with photographers such as David LaChapelle and Andy Warhol it’s certainly going to be an exciting and aesthetically pleasing display of art. Quoted from a video in the run up to the exhibition, Gaultier has said, “The English were the first ones to come to my shows and appreciate my fashion.” He went on to say “I am super excited that the show is coming to London. If there is one place other than Paris that I should like to live in, it is London.” Most of the exhibition comes from his personal collection.

Described as a “dynamic installation”, it will also include clips from his late-night television show, Eurotrash, which is sure to be interesting! “I didn’t want the show to be something like a funeral, because for me, to be in a museum, it is for people who are dead,” he added. “I am still alive!” Timed admission is in operation for the exhibition so it’s probably best you book tickets in advance especially if you want to be one of the first to see it, it is definitely not one to miss!

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“My jeans may have been cheapies but I had to buy new ones as I got holes in them from literally crawling around on the floor most days.”

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is transgender model Andrej Pejić, Gaultier had Andrej walk in both his men’s and women’s wear Paris 2011 catwalk collections. Gaultier has not only contributed to changing the conventional views of sexuality and gender, but also body shape and image within the fashion industry, breaking the mould of the traditional expectations of models through out the 80’s until now. He has routinely used plus size models to showcase his collections in the past; he also made headlines when he had Beth Ditto, lead singer of indie rock band Gossip, walk for his Spring/Summer 2011 show (Ditto is also well known and appreciated within the gay scene.) Being a short, overweight and a little unkept looking Beth Ditto, the grungy indie rock singer definitely doesn’t fit the standard catwalk model criteria and it caused a shock within the fashion industry, whether it was for good or bad reasons. He also designed Ditto’s wedding dress for her wedding to long-term girlfriend Kristin Ogata in July last year, which she later thanked him for her ‘dream come true dress.’

“Every morning when I walked into the fashion cupboard I used to imagine I was walking into my very own walk in wardrobe, if only”

“The best diet I’ve ever been on!”

“I got a goody bag at the end of my internship full of Chanel make up and expensive perfume, it made all the hard work seem worthwhile!”

“Due to missing a day of my internship to attend a hospital appointment I was told my name would be ruined in the fashion industry, great.”

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Caryn Franklin at t h e C u t t i n g E d g e

media feeds us are very limited and people begin comparing and trying to match up to these rather than celebrating their own individuality. The talks are aimed at young creatives such as myself as we are the future producers of fashion and have the power to change what has become formulaic.

How can we influence the fashion industry to better reflect its audience? Lille Cooper considers the need for change in fashion identity

glasses. Our most recent talk saw her wearing a pair of red tartan trousers with big chunky boots, teamed with a pretty polka dot blouse and black fluffy jumper on top – she looked great! Caryn defines what personal identity is all about before even beginning to speak.

Caryn’s extensive career can be intimidating to an audience, but she was very welcoming and encouraged us all to share our own opinions. She asked ‘are we giving away our power when we don’t have an opinion’ and really emphasized the importance of having our own standpoint as it ‘informs our creativity’.

So why is it, despite increased accessibility and awareness of fashion, the acceptability (and expectation) of ever more diverse clothing styles and a wider awareness of global cultures, that fashion identity is, in general, promoted by the same formulaic stereotypes as ever: tall, young, skinny, white - rather than promoting diversity and individuality?

Caryn Franklin continues to ask the same question and challenges all of us, as members of the industry responsible for shaping the future of fashion culture, to open our eyes to the positive messages that greater diversity of body shapes, sizes, ethnicity and age will bring to fashion images.

This is the third time Caryn Franklin has come to Ravensbourne to speak to us about All Walks Beyond The Catwalk and diversity in fashion, yet it was still as inspiring as the first.

Although the talks follow a similar pattern, there is always something new and I have always come away feeling refreshed and inspired. Caryn’s soft but clear voice conveys a strong message but is made easy to understand because of her energy and witty sense of humour. She is not trying to persuade us to think in a certain manner but simply to get us thinking and aware of the power of our own views and practices in the industry - whether that is to ‘start having our own opinion and re-engage with fashion or to stick to formula’s already created’.

Ravensbourne has a close and continuing connection with Caryn Franklin. She is tall and slim with a great personal style and youthful appearance. Caryn made an impression from the first time we were introduced, with her distinctive hairstyle (black with grey streaks running through) and thick-rimmed

Caryn Franklin’s talks are about re-connecting to fashion ‘starting at the beginning and re-planting the seed’. These days we make value judgments based on people’s appearances without even thinking twice, not only that but the body ideals the

As co-founder of the award winning initiative All Walks (along with Debra Bourne and Erin O’Connor) in 2009, Caryn actively works with students here and across the country, as well as fashion designers and the media, to promote broadening the size, shape, ethnicity and age range of professional models. All Walks wants everyone connected with the fashion industry to understand the power they have to give positive messages to women and men about their identity, body and beauty, to be more emotionally considerate in their use of images and celebrate a wider range of body type. After all - this is what the real world is like. Just pause and watch the world going by your window. Is everyone walking past tall, slender, young and white?

Not in my neighbourhood.

TEXT: LILLIE COOPER IMAGES: NICOLE PATRICE

For me, fashion is all about identity: a way to express who you are (and who you aspire to be) without saying a word. Fashion is something everyone connects with at some level, whether involved in the industry or not. It is inextricably entwined with our images of music, theatre, culture, peers, heroes and heroines.

And then there are the clothes themselves, from the high street to haute couture, tempting us with their different shapes, different textures, different colours, different embellishments and, increasingly, their sustainability and authenticity. Fashion is part of our everyday lives.

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are we giving away our power when we don't have an opinion

Caryn is in a unique position to drive the political debate about fashion and identity. She has over thirty years’ experience in fashion, working within education at colleges including The Royal College of Art, Central St Martins, The London College of Fashion and Ravensbourne as well as within the commercial sector.

As a former fashion editor and co-editor of i-D magazine (1982-1988) Caryn’s work was all about personal identity and allowed her to ‘engage with fashion on her terms’. Caryn maintains that in the 1980s there was a greater diversity of model choice but the industry has now moved onto ‘one type’ of body image which promotes unsustainable bodies on the catwalk and fears the greater damage such promotion may cause.

As a broadcaster, writer, direct and producer, Caryn has been part of TV shows and documentaries, including The Clothes Show, which ran for twelve years until 1998 and was revolutionary in bringing concepts of style and fashion to a younger audience. The spin-off ‘Clothes Show Live’ gave unheard of access to catwalk shows and designer goods, not to mention the chance of being discovered by a modeling agency to young women and men of all social classes: this is where Erin O’Connor, on a school trip to the Clothes Show in Birmingham, was spotted by a scout and started her amazing career.

Caryn’s continuing interest in the politics of image and self esteem has seen her involvement in an extraordinary range of projects which challenge the boundaries of our everyday perceptions – working with refugees in battle zones, with workers in free-trade slums, with mental health experts, government ministers and fashion industry innovators. She increasingly promotes the need to move away from ‘throw away fashion’ to attach more meaning to clothes and promote ethical sourcing and sustainability. Caryn is a big fan of up-cycling.

In 2013, Caryn was awarded an MBE for services to diversity in the fashion industry.

So where do we go from here?

There are campaigns and individuals already challenging the question of identity within fashion – Dove and Marks and Spencer adverts are some of the more commercial examples, but is it enough? The All Walks campaign gives priority to those who will influence the future of fashion rather than using all its recourses trying to change the attitude of those influencing it today. That’s you and me.

But before we can drive such changes, there is a need to understand the industry we are part of and be realistic about the way it operates. The days when photographers would go to catwalk shows, take rolls of films and hand them over to editors to be released to a minority audience, months later have long gone. Fashion is no longer so exclusive. Fashion images bombard us via television, films, magazines, newspapers, hoardings, even the sides of buses and catwalk shows can be streamed live to our computers, ipads or mobile phones. We need to embrace these innovations, use them as opportunities and move forward with the times.

As contributors to the future of fashion and fashion promotion, we have a responsibility to really think about where we stand and to challenge what has become the norm. We live in a world that technology has made instantly accessible, offering access to incredible cultural richness and diversity, with beautiful images to be found across all shapes, sizes and ages. We need to appreciate, explore and celebrate this richness in our work and, by doing so, empower people to recognize that trends are just a way for the industry to sell clothes and that, by finding and embracing their own style, they can be truly confident in their own identity.

I find the concept of change incredibly exciting and challenging – just what fashion is all about. Let’s look beyond new looks, new trends and new seasons to add in new shapes, sizes, ages and ethnicities: it gives us so many new avenues to explore and enjoy! There is no excuse for continuing to use tall, skinny young models as a prescriptive image of the body beautiful. Our billion dollar industry has room to be far more exciting than that.

These were the eras of firsts, an era championing music such as The Beatles and Elvis, lest we forget fashion and subcultures was what took these artists to stardom within the young adult communities all looking for a style to call their own.

Saint Laurent of course was making a series of firsts. Lou Lou de la Falaise who’s name was as extrovert as the woman herself was within the much anticipated and highly exciting fashion crowd, glamorous dinners, parties and social events all the while fashions were changing and being implemented throughout these confident and fashion forward crowds. Lou Lou and Saint Laurent met at Sanchez’s apartment, and from this pinnacle moment Yves Saint Laurent was the first of designers to outrightly hire a muse to inspire him throughout his career.

StillYveswithout theYves?

Saint Laurent Paris; a notorious fashion house that we love to love. Has it lost its crown? Of course not. We say Saint Laurent Paris is better than ever.

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Saint Laurent’s dedication to braving the unknown and challenging the norm was part of his emotional journey, his mind was full of brilliance but he had self destructive tendencies and intense emotion. His short run at Dior was an obvious reflection of Saint Laurent himself, although the brilliance in his creations was unwavering the public were not ready for such innovation, resulting in a diminishing yet short lived downfall. The only solace he had was life long partner Pierre Berge who gave Saint Laurent the business head to push forward his creativity. Saint Laurent confessed to Newsweek, “I’ve made a rope to hang myself with. I’d love to be able to do fashion when I want to, but I’m a prisoner of my own commercial empire.” There’s no question that the 60’s and 70’s were eras which embodied change and exquisite taste, rebellious youngsters all wanting to make some form of creative difference.

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Saint Laurent confessed to Newsweek, I’ve made a rope to hang myself with.

I’d love to be able to do fashion when I want to, but I’m a prisoner of my own commercial empire.

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There is a purposeful distinguished consumer and wearer of the brand and this has been implemented throughout Saint Laurent Paris; the cat walk models represent a slender frame and indifferent persona, the brand campaigns feature rebellions of the music industry and the clothing itself offers a parodic sensibility of beautiful textures and relaxed structure. The brand offers a lifestyle rather than being a religious follower of seasonal trends, Hedi Slimane has given the brand life, the rebellion is back and the brand is more sought after than ever.

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Once described as a designer who makes clothes for women who live double lives, Saint Laurent didn’t conceive ideas which were run of the mill. His tenacious and contrasting persona didn’t stop at himself, he injected the emotion into his work, which ranged from a grunge inspired leather jacket and his youth focused diffusion line - Rive Gauche Pret-aporter - to the intricate detailing of his couture collection. He glorified the masculine suit and the fedora by remaking these garments into womenswear as-well as men’s.

The famous Le Smoking, encapsulated what this suit meant to the world of fashion, Helmut Newton captured the feminine yet powerful structure with contrasting light and this turned fashion on its head, giving women the confidence to become equals amongst men. “He put trousers into a women’s wardrobe and made our lives easier’ a quote from his long-time pal Paloma Picasso once said, Yves loved to provoke both admiration and outrage.

Many critiques have posed the question whether the newly appointed creative director, Hedi Slimane is worthy of the throne that Saint Laurent so sadly left. Fashion packs became sensitive and protective over the delicate state of the power house, which slowly became ever so slightly tiresome and dated. But we can’t overlook the facts, Yves and Slimane haven’t wavered to far from similar pasts, both requiring experience from Dior, and both extrovertly confident in their visions.

Evoking the youth culture has been Slimane’s main focus, he rightly tapped into Saint Laurent’s mantra of modernist change and has had the confidence to push untapped boundaries. Slimane’s first move once appointed as creative director was renaming the house. YSL, Yves Saint Laurent quickly become Saint Laurent Paris, and whether this was a good move it or not this change certainly resulted in a fashion media

Slimane has a technique which may be scrutinised but it’s also very genius. His modern and Parisian way of thinking helps to create something quite magical. He casts models, yes. But his favoured way of casting is to scout for boys with a slender frame, a nonchalant persona and the stage presence which can only be created from musicians, so musicians he will find. Twins and band members, Fletcher and Wyatt Sheers were found by Slimane in Los Angeles and were flown from Ameraica to be casted in his show.

Music is injected into every corner of the brand; successful brand campaigns feature black and white portraits of legendary music stars, Marilyn Manson and Daft Punk which caught the attention followers and perhaps a different audience. Saint Laurent has been extremely successful in incorporating modern techniques to keep the brand in the eye of the consumer; music projects which are being wired through viral marketing platforms demonstrate that the brand is successfully tapping into the next generation, and not only are these projects showcasing the collections but also new artists, such as Miles Kane and Curtis Harding. The Saint Laurent Paris stores and departments are also in-keeping with the brand image, not one thing out of place in order to keep everything coherent, the employees are slender, edgy and hold a certain arrogance to them which is almost endearing and attractive – this is Saint Laurent.

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The plot, a talented young boy who lived for his love of fashion, ambition succeeded him and he was overcome with the success of his power house, YSL. Yves Saint Laurent was a designer that embodied a series of parodies, enigmas and sheer excellence. Like many of the great creative’s that we have seen expose their raw and unwavering talent to the world Saint Laurent had an exceptionally intriguing and awe-inspiring life. Throughout a career span of 45years he achieved what many can only dream of, but this wasn’t without struggle and critique. He challenged most, he pushed the boundaries of many and he created a house so rich in history, fashion packs have placed a protective shield around it. Today, we hold tribute to a historic figure and champion a new Creative visionary for Saint Laurent Paris, Hedi Slimane.

Yves Saint Laurent was the instigator too many trends that we see gracing our catwalks and high street stores alike and similar to a mantra from The Devil Wears Prada, even the amateurs of fashion can’t deny that this history has been implemented into their wardrobes some way or another.

1971 Yves showcased the pantsuit and platform sandal; there is no denying in our current fashion climate the platform sandal is well and truly back in business. Franco Rubartelli photographed Veruschka in 1968 in a YSL front laced Safari jacket, one of the most famous photographs to date, and of course another pinnacle moment to the fashion scene, safari.

Within a editorial for Harpers which demonstrated several of the sartorial archetypes of the 20th century, Peter Lindbergh recreated this very look by using Gisele and styling from Gucci.

Laurent sig na int a tu Ss re

TEXT: HOLLY KNOWLES

He put trousers into a women’s wardrobe and made our lives easier’ a quote from his long-time pal Paloma Picasso once said.

frenzy, twisting the heads of sceptics and disciples who eagerly watched and waited for the next scandal. Show Studio did an excellent debate on the subject, and the results acclaimed Slimane as the saviour of the brand.

Seventies Seduction

Refined and sexy, enter the world of 1970’s jet set glamour, where vintage YSL is all but essential.

Photographer - Nicole Patrice Stylists - Matthew Anderson Production - Sara Babikz

Tux/Vest, Trousers and Boots all H&M

Blouse, Crop top - Zara Skirt -Vivienne Westwood Red Label

Top and Trousers - Zara Bag -Vintage Watch - Sovereign

Dress Zara, ring from H&M

Coat - Diane von Furstenberg Heels - Topshop Gloves- Vintage

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STYLE Over FASH I O N?

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In Style vs. Fashion, Elliot Rose dissects the difference between the two and explores the importance of taste level with stylists Nathan Henry and Becky Lightbody.

Removed from the world of fashion, I remember as a child living an average suburban life, telling the clear difference between the two. There was the bleached blonde mutton dressed as Denise Van Outen, pulling up to the school gates in their flashy ’51 plate Audis, exuding early 2000’s fashion victim. These women exchanged shady looks with the likes of my mother, a working woman with an extensive collection of skirt suits, a signature love of polka dot and who has said the words “flat shoes are for pussies” more than once. The difference between good taste and bad, between style and fashion, has been obvious to me since a young age. It is pervasive in our culture.

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The crux of the problem lies partially in the fact that women don’t know what suits them, and that no trend is tailored to all. Whilst Gok Wan, in his reign of terror as the sweetheart of chubby over 30’s everywhere, did inspire/coax/nag a generation of women into ‘shopping for their shape’ (cringe) he did not fix our issue entirely. Even if a trend flatters your body trend, it is not necessarily right for you.

Case in point: the peplum. For a good year, these were everywhere, and while they looked great on many girls, they are wrong for so many reasons. You don’t really ‘work’ a peplum as much as you let it hang there as a flaccid, jersey reminder to all that you are sartorially uninspired. For a rockabilly princesses with tattoos and a love of all things fifties, then by all means embrace the peplum with a burst of Dita Von Teese spirit. Unlucky for the rest of you still rocking this trend from two years back, New Look only has a 28 day refund policy. Sorry/not sorry.

To be stylish is to know yourself well enough to be able to succinctly shop for pieces that always leave you looking fresh and interesting. Knowing about fabric, fit silhouette and colour, and then knowing which of those suit you. Dressing from a trend led perspective cannot work, as no single trend fits all. This the fundamental difference between fashion and style.

There are many celebrities, media figures and people in the public eye who are famous examples of covetable stylish women and straight up fashion victims.

TEXT: ELLIOT ROSE, IMAGES: ELLIOT ROSE, BECKY LIGHTBODY, NATHEN HENRY

There is a definite discernible difference between fashion and style. Think about it for a second, and you’ll see that it’s the difference between Céline and Cavalli, between Anna Wintour and Anna Dello Russo, or even between The Devil Wears Prada and Confessions of a Shopaholic. Whether you’re in fashion or not, the void between the two modus operandi are obvious.

In the 1970’s, Diane Keaton represented the epitome of a stylish New York woman, and in the 1980’s Grace Jones represented elegance in an era of tack. The 90’s brought us Courtney Love’s unique taste, and Kate Moss exuded pure style in the 2000’s. Conversely, women like Madonna, Cara Delevingne, the ladies of Destiny’s Child and even Twiggy are driven by fashion.

Becky Lightbody and Nathan Henry, the styling duo behind this edition’s pink shoot, are champions of individuality. They have worked away on the shoot of a lifetime, pushing the boundaries of kitsch and having a whole lot of fun in the process. When asked their style icons, Becky succinctly answers “Brigitte Bardot, Pamela Anderson and Courtney Love has got to be in there” with Nathan stating “obviously Donatella, who else? The woman is a style icon in her own right. And Cher’s been stylish for years. Donatella and Cher.”

Some very stylish women indeed, if you ignore the sartorial question mark that is Pamela Anderson.

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Rather than just style vs. fashion, it’s also a question of taste.

While these camp and tacky women of infamy may not instantly holler style icon, their opinions on the style vs fashion debate is very much in the same camp as mine, with Nathan commenting “fashion is just delivered to you, style is acquired, you have to have your own style. Style is a lot more personal. It’s the idea of being able to take something and make it your own. Fashion is mindless, and has no personality.”

Becky added, along the lines of Coco Chanel before her “fashion is temporary, style is forever!” Because, just like fashion trends, fashionable women fade in time and become as dated as the clothes they were wearing. What we always remember is great style icons.

But there has to be something more than just being uniquely stylish. Hell, if we can legitimately consider Courtney Love a style role model, it’s clearly not that simple. Rather than just style vs. fashion, it’s also a question of taste.

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The crux of the problem lies partially in the fact that women don’t know what suits them, and that no trend is tailored to all.

”

Is it better to have a distinct and personal aesthetic based entirely in the realm of utter tack, rather than no personal aesthetic at all? Diana Vreeland famously once said that “We all need a splash of bad taste—it’s hearty, it’s healthy, it’s physical. I think we could use more of it. No taste is what I’m against.” There is something to be said for this way of thinking. When quizzed, our stylists completely agreed, with Becky quipping “bad taste, I love pink!” and Nathan quickly agreeing. Because, after all, some times it is more fun to see someone walking down the street dressed in solid fuschia velour, kitten heels and giant diamanté jewels than it is to see a preppy princess in perfectly pressed Ralph Lauren.

The perfect example of bad taste as a way of life that had produced many a style icon has to be cult TV show,

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RuPaul’s Drag Race. For those unfamiliar for this televisual delight, it’s pretty much America’s Next Top Model, but for drag queens. Instead of Tyra Banks it’s headed up by RuPaul; who is like Tyra Banks, but much less insane and a lot more fabulous. The drag queens that the show presents are quite the

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In the 1970’s, Diane Keaton represented the epitome of a stylish New York woman, and in the 1980’s Grace Jones represented elegance in an era of tack. The 90’s brought us Courtney Love’s unique taste, and Kate Moss exuded pure style in the 2000’s. Conversely, women like Madonna, Cara Delevingne, the ladies of Destiny’s Child and even Twiggy are driven by fashion.

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Because, just like fashion trends, fashionable women fade in time and become as dated as the clothes they were wearing.

”

Becky Lightbody and Nathan Henry, the styling duo behind this edition’s pink shoot, are champions of individuality. They have worked away on the shoot of a lifetime, pushing the boundaries of kitsch and having a whole lot of fun in the process. When asked their style icons, Becky succinctly answers “Brigitte Bardot, Pamela Anderson and Courtney Love has got to be in there” with Nathan stating “obviously Donatella, who else? The woman is a style icon in her own right. And Cher’s been stylish for years. Donatella and Cher.”

Some very stylish women indeed, if you ignore the sartorial question mark that is Pamela Anderson.

While these camp and tacky women of infamy may not instantly holler style icon, their opinions on the style vs fashion debate is very much in the same camp as mine, with Nathan commenting “fashion is just delivered to you, style is acquired, you have to have your own style. Style is a lot more personal. It’s the idea of being able to take something and make it your own. Fashion is mindless, and has no personality.” Becky added, along the lines of Coco Chanel before her “fashion is temporary, style is forever!” Because, just like fashion trends, fashionable women fade in time and become as dated as the clothes they were wearing. What we always remember is great style icons.

Essentially, style vs fashion boils down to having a personal reflection on fashion, whether your taste is good or bad. Being a style icon is all about dressing for you, and not caring what anybody else thinks. Don’t be afraid to dress how you want, and certainly don’t be afraid of a little bad taste.

10 MINUTES WITH BECKY AND NATHAN Becky Lightbody and Nathan Henry styled this edition’s pink shoot, the camptastic pageant of fun that proves the theory that there’s no such thing as too much. I caught up with them, and we chatted drag queens, Cher and glitter. Totally fierce, as per.

TEXT: ELLIOT ROSE, IMAGES: ELLIOT ROSE, BECKY LIGHTBODY, NATHEN HENRY

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figureheads for tacky, however there is no denying that of the most famed, each has a unique personal style and is an icon in their own right. Balancing the beam of staying stylish and staying tacky at the same time, it’s quite natural that the faces of past Drag Race winners were on many of Nathan and Becky’s moodboards.

ER: You played with a lot of pink for this shoot, what fabulous women were your inspirations? BL: Dolly Parton was a big influence. Cher from Clueless, Jane Mansfield.

NH: That’s about it for biological women.

ER: So then who’s your favorite drag queen?

BL: Sharon Needles and Raven. NH: Raven. Sharon Needles is my favourite, and Nina Flowers.

ER: Fantastic. Your brief for this one was to shock our deputy editor, what do you think her thoughts will be on this shoot? BL: Sickening. NH:I think she’ll like it but think it’s very pink. Very pink. To borrow a phrase from drag race “I wouldn’t wear it, but for you it’s cute.”

ER: Regina George famously wore pink on every single Wednesday, what shady bitch would you love to style? BL: I’d love to style someone really over the top, I’d have to say Pamela Anderson again. NH: Joan Rivers. Her wardrobe is sparkly, shiny, and everything that encapsulates tacky crap, but when you’re that age, who cares?

ER: What’s your absolute worst pet peeve? BL: I hate bad table manners! NH: This whole trend for high, strange length trousers.

ER: And what fills you with hope and joy? BL: Kittens! NH: Weekends off, sleep. Meals you don’t have to pay for. BL: Free food, there was a farmers market on this weekend near me, I ate so many free samples. That gives me hope.

ER: What’s next for Nathan and Becky? NH: We’re getting a divorce! BL: Something even more over the top. NH: Adding to our ball of glitter, glue guns and sparkles. Avoiding beige clothing.

ER: Finally, what would be your one rule for staying fierce? NH: Don’t give a shit. I don’t. Since I’ve stopped giving a shit, everything is easier. BL: Stop caring what other people think of you.

PINK POWER Proving that there’s no such thing as too much, Becky Lightbody and Nathan Henry are serving pink-on-pink realness Photographer - Amber Eggleden Production/Stylists - Rebecca Light-Body & Nathan Henry

Nightgown – Vintage Bra – Playful Promises

Babydoll – Beyond Retro Robe – Vintage

Dress – Jones + Jones Shoes – Timeless (same throughout)

Dress – Jones + Jones Shoes – Timeless

Dress (floral one) – Beyond Retro

Dress – Vivienne Westwood

Dress – Rokit

Jacket – Vintage Shirt Vintage Skirt –Beyond Retro

Dress – Beyond Retro

Jumper – Jane Norman Skirt – Burberry

Jumpsuit – Beyond Retro Belt – Vintage

Dress – Beyond Retro Lace Dress (on top) – Beyond Retro

Dress – Beyond Retro

FELICITYGreen

TEXT: NATALIE BELL, IMAGES: NICOLE PATRICE

Felicity Green OBE is a celebrated figure for Fleet Street journalism, giving the revolutionary youth movement of the Swinging Sixties a voice.

Natalie-Catherine Bell talked to her about the notion of her success, championing new talents and the adversity faced as a woman in a man’s world.

If like me, you entered the world of higher education under the coalition governments’ hideous attempt to pull the UK out of recession by increasing university fee’s to £9,000, then you may sometimes find yourself questioning what exactly that large sum of money, yet to be earned, is being spent on. One of the greatest things about being a student is the experiences you are given, by this, I do not mean freshers, the week long bender leaving you in a coma-like state for your first official lecture. For me, it is the visiting lectures from industry professionals that makes me sleep a little bit better at night, knowing my impending debt is not just a three year quest through drunkenness and debauchery.

Now in my second year of study, I have had the priviledge of listening to some of the fashion industry’s key players; from the editor of British Vogue, Alexandra Schulman, to the infamous fashion commentator Colin McDowell, and this term’s guest speakers were of the same high calibre: Caryn Franklin former co-editor of i-D Magazine and now active fashion campaigner for diversity within the industry (see Juicebox’s, Lillie Cooper’s interview with Franklin in this issue), and celebrated veteran of Fleet Street journalism, pioneer of revolutionising the way we communicate fashion and lifelong style trailblazer; Felicity Green OBE. For those of you unfamiliar with the name, Felicity, now 87, was the first woman to serve on a national newspaper board and ultimately the first lady of Fleet Street journalism.

Growing up above a bike shop in Dagenham on the outskirts of East London and the borders of Essex, hardly described as the

epicentre of fashion and somewhere fashion wasn’t particularly easy to access. Felicity admits to skipping school every Thursday with her father to go to the local cinema, these weekly truancy episodes introduced the young Felicity to the glamour of Hollywood and the starlets of the big screen, sewing a seed of the raconteurs’ strong opinions on style, “Norma Shearer was my favourite, I kept a scrapbook full of her pictures.” However, the initial starting point in her career was less than glamourous, beginning with a job as a typist with an impressive certificate for 240 words a minute in shorthand, then going on to roles within advertising and PR, and soon into fashion

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Don’t write about fashion, write about people, people wearing fashion and fashion affecting people. journalism where her clear talent and enthusiasm for style and writing were able to flourish; with a major part of her career being spent at the Mirror Group. Felicity has been heralded for changing the way women learnt about style, and how they accessed fashion, she changed the way in which women were spoken to via the media, through equality, intelligence and fun, that was reflective of the vast changes that were happening in society at the time.

Her unwavering ability to say exactly what she thinks guided her over 60 year career to great heights, and is a wonderful rule

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You’re going to be quite senior to are a much older than you and have more experience than you, whatever let that man leave the office with balls intact.

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men who a lot you do, his

The emerging ‘youth quake’ movement was beginning to revolutionise how fashion was perceived, and Felicity’s role at the Mirror was to promote this contemporary sartorial change rapidly becoming available to the masses. During her time as associate editor, Felicity began courting designers and with a readership of over 5,000,000 a day, and designers were by no means shy to meet her. Collaborating with some of the most distinguished names and style icons of the time such as; Mary Quant, Twiggy and Vidal Sassoon, Felicity sought to discuss the changes being seen in society that was influencing fashion.

Perhaps, the most illustrious collaboration, and a breakthrough for Felicity, was the partnership with the then illustrator, Barbara Hulanicki. Barbara had been working at the Daily Mirror as a freelance fashion artist creating sketches for features for Felicity. Impressed by the way that Barbara designed and by her own personal style, Felicity asked her if she could design a ‘very simple dress in gingham’, for a reader offer in 1963. The two ‘ambitiously’ pitched a figure of 3,000 to the companies advertising director, a figure which Felicity thought to be widely optimistic. Felicity recollects the conversation with the director who had expressed concern for the imminent project, “We are very worried as a company that you are giving this designer all this space in the Daily Mirror, suppose she runs off with the readers’ money?”, so intrepid with both her own judgement and Hulanicki’s design skills, Felicity soon responded “If that happens, I will make up the difference with my own money.”

Her offer was unneeded. That baby pink gingham dress went on to sell over 17,000 orders. A sell-out success, in which a £3 dress became a revolutionary piece of clothing, making Barbara Hulanicki a household name in British Fashion. The incredible success led to the start of Hulanicki’s brand ‘Biba’, which was the go-to place for youngsters in the Sixties looking to be a part of swinging London. But where did this new wave of rebellious talent start and where was it’s standing in every journalism? “Newspaper journalism didn’t have anything to

do with swinging London” says Felicity “it began with the art colleges, that is where the talent came from. Art schools created the climate, which infected young people, there was a reaction against it, but it was irresistible, it was affecting clothes, music, education, society; every time i think about it I get a surge of joy.” It’s apparent from the pause of thought and conspicuous smile that this time of hedonism was unequivocally a cultural revolution.

Part of Felicity’s charm, and a huge part of her success was her notion of not writing about fashion, “Don’t write about fashion, write about people, people wearing fashion and fashion affecting people,” she remarks, “don’t describe the clothes, it’s boring, I don’t want to know if there are inverted pleats, that’s not interesting to me.” This concept of bringing the clothes to life through people was rendered possible by Felicity introducing photographers from the glossy magazines to newspaper journalism. One of the most prominent photographers championing this movement was John French, now an overlooked name, but known as the English Avedon.

French was the innovator of fashion photography being reproduced in a suitable manner for newsprint. Alongside other regular commissioning photographers such as John Cowan, French created action photos in real-life settings that had huge fashion value and were sexually evocative, “I wanted to get sex into the pictures, I didn’t want respectable ladies in raincoats.” quotes Felicity, she goes on to share an anecdote about the set of images taken by Cowan of sixties supermodel Jill Kennington, featuring the young model adorning swimsuits in a pub setting; “It was pouring with rain, they were supposed to be shooting on the beach, Cowan had decided ‘let’s forget this job, and go to the pub’, once there he had an idea, they decided to use the pub as the location, and began shooting the bikinis there. Of course, the men in the pub was absolutely riveted

by Jill, and they had to be bribed not to look at her with more beer.” An incredibly forward thinking narrative advocating spontaneity and creativity from the fashion of the day.

Felicity’s contribution to newspaper journalism gave the revolutionary youth movement a voice, paving the way for twenty first century journalists to be communicative in a style that she pioneered.The incredible attributes that she attains is her charm and grace, it’s disarming; that, coupled with her clear determination to carve a career for herself, and to be taken seriously in a mans world is hugely aspirational. However, despite the incredible limitations that Felicity broke during the time, she insists that the glass ceiling is yet to be broken. This September see’s the release of Felicity’s first and only book ‘Sex, Sense and Nonsense’, that she once claimed she would never write, “it nearly killed me, it’s a record of a wonderful time, the sixties was a life worth living, barriers being broken and new things happening.” Her talk here at Ravensbourne was unbelievably engaging, you can’t help but be engrossed by every anecdote she tells, and if that was anything to go by, it’s a sure thing that the book will be an absorbing read into the synonymously radical era. a

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to go by. Not just for aspiring journalists but anybody wanting to make a name for themselves whilst fighting for what they believe in. When speaking about her time at the Mirror, Felicity recalls her first meeting with Hugh Cudlipp who had asked her if she had seen the Women’s Sunday Mirror, a new newspaper that had been launched for women, and what she had thought of it, to which she replied, ‘I think it’s so awful, you should be ashamed of publishing it.’ A bold, and very brave move on Felicity’s part, but a decision that paid off hugely in time, with Cudlipp going on to ask her to assume the role of Woman’s Editor, a less than groundbreaking role for Felicity, who again was looking to take on a position with more substance. In a moment of quick thinking with a hint of gumption, Felicity suggested her title be Associate Editor; a position that she occupied for over 18 years. Joining the Mirror Group in the swinging sixties, when Fleet Street was exclusively an male dominated environment, Felicity was given some invaluable advice, “You’re going to be quite senior to men who are a much older than you and have a lot more experience than you, whatever you do, let that man leave the office with his balls intact.” A strong statement that is indicative of the difficult circumstances that women faced in the workplace.

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Denim Jacket - Topman Crop Top & Trousers - H&M

XxxY Boy? Girl? Who cares? David Daley and Natalie Hepworth explore androgynous wardrobe essentials on London’s South Bank.

Photographer - Natalie Hepworth Production - Stephanie Aboagye Stylist - David Daley

Roll Neck jumper - Topman

Denim Shirt - Topman Jeans - Nudie

Same jumper Shorts - Addidas Socks & Sandals - both Nike

Vest - Topshop Boxer Shorts - Ralph Lauren Jeans - Whistles shoes - topshop

White top - Cos Trousers - Zara

Both Dresses - Zara

Of Glamour I ta l i a n Fa s h i o n Glamour is to the Italians, what eccentricity is to the British.

A right of passage in sartorial statures.

This year has seen the highly anticipated and impeccably curated ‘The Glamour of Italian Fashion 1945-2014’, join the ever growing list of enormously popular exhibitions showcased at London’s Victoria and Albert museum.

The exhibition which began in April and is due to run until the 27th of July, features some of the most pivotal designers in the history of Italian Fashion, from Simonetta to Prada, it examines Italy’s post-war progression from a country left in both financial and physical ruin to a catalyst of glamour and refined tailoring.

From the moment you walk into the exhibition, you are faced with a large photograph of Florence, taken in 1946, after it had been bombed during the war. The poignancy in that single image is silenced throughout the exhibition as it is juxtaposed by the optimism and dedication showcased by the evolution of the Italian fashion industry. Much of Italy’s post-war transition can be attributed to it’s progressive relationship with the central protagonists of Hollywood during the 1950’s and 1960’s. In 1953, Hollywood blockbuster ‘Roman Holiday’ catapulted an almost unknown Audrey Hepburn to new found fame, as she captured the free and symbolic spirit of Italy. The silver screen allowed Italian fashion to immerse in an American market; with the aforementioned Hepburn and Ava Gardner becoming ambassadors for some of Italy’s most luxurious brands, leading to a huge increase in demand for Italian-made product.

The renaissance of Italy’s fashion is communicated throughout, with archival pieces selected that translate the post war revival, dresses from designers such as Germana Manicelli and Giovanni Battista Giorgini are set in a room that is communicatively evocative of the fashion shows held in the Sala Bianca room, Florence. In 1951, Florences’ Pitti Palace hosted in it’s now infamous Sala Bianca, (otherwise known as the white room) Giorgini launched Italy’s first fashion that would be recognised on an international level in line with the likes the haute couture shows in Paris. A room which has seen some of Italy’s greatest creators showcase their works on a bi-annual basis, from Valentino, to Lancetti, to di Camerino and Cavalli.

Over 100 pieces from leading Italian fashion houses such as; Gucci, Prada, Valentino and Versace feature in the cinematic space, that heightens the exploration of Italy’s dynamic relationship with Hollywood. Italy’s contribution to the world of fashion has always been one of; elegance, quality and of course, glamour. The purpose of the exhibition is not only a celebration of 70 years of artisanal fashion, but to reveal the stories behind the craftsmanship; the inclusion of not just the final outcomes,

TEXT: NATALIE- CATHERINE BELL ILLUSTRATIONS: GEMMA ELLIOT

An insight into the blockbuster exhibition this year featured at London’s Victoria and Albert Museum.

the exhibition gives great insight into the creative process with original sketches and sample fabrics sitting alongside garments. In a dramatic urban salon that showcases the finest sartorial pieces Italy has to offer, not to mention the exquisite diamond and emerald Bulgari necklace worn by the late Elizabeth Taylor on her wedding day to Richard Burton. A fitting homage to the show, with Burton once stating that ‘the only word Elizabeth knows in Italian is, Bulgari.’

Perhaps one of Italy’s most well known crafts, is tailoring.

More specifically, Milanese and Neapolitan tailoring has long been defined as a cut above the rest, the precision and refinement in detail is synonymously reflected by Italy’s international r eputation for sleek and distinguished design. Italian tailors are notorious for their instinctive and perceptive method of crafting, This distinctive mastery that combines sophistication with comfort is suitably translated throughout the exhibition, with the 1960’s menswear incline on the silver screen, suits worn by Marcello Mastroianni in ‘La Dolce Vita’ capture the true essence of fine Italian tailoring.

A great strength that the exhibition plays to, is Italy’s emphasis on extremely high quality production, which is perhaps one of the main charms of Italian fashion. With distinctive parts of the country entirely dedicated to one product; such as the leather produced in Tuscany or silk in Como - that passion for ‘Made in Italy’, is where Italian fashion will see a guarantee in its

future, and its prominence on a global stage. Up and coming, new Italian designers such as; Fausto Puglisi and Stella Jean, were included in the exhibition, allowing us to explore the coruscating array of new talent emerging from a wealth of household Italian brands.

Unfortunately the political and financial furore that Italy has faced over the last decade, has caused it’s textile and production industries to suffer somewhat, with numerous Italian fashion houses being owned by foreign companies. However, with what hopes to be a light at the end of a very long economic downturn tunnel, perhaps a focus on the emerging talents within the Italian fashion industry is what the country needs to remain prevalent in the global market. The exhibition ends with contemporary industry contributors commenting on where the future will see Italian fashion; Vogue Italia’s Franca Sozzani and Valentino’s Pierpaolo Piccioli amongst others remark on the creativity and quality that makes Italian fashion what we know it to be today.

The exhibition will continue to run until the 27th July 2014, at the V&A Museum.

Top - Forever 21 Earrings, ring - Stylist own

I TA L I A NIcon Live La Dolce Vita in our clean take on classic Italian cinema.

Glamour and elegance are the words of the day.

Black dress - Forever 21 Shoes - River Island Scarf - River Island Necklace - Natalie Bracelets - rings Paulina

Photographer - Natalie Camilla Hepworth Production - Paulina Prakapaite Stylist - Jenna Pihkola

White skirt - Topshop Top - Topshop Belt - New Look Necklace - Topshop Shoes - River Island

Pink top - Natalie Shorts - Natalie Necklace, Earrings - Stylist own

Blazer/jacket - River Island Skirt - Zara Bustier/bra - H&M Shoes - New Look Necklace - Topshop Bracelet - Stylists own

Top - Forever 21 Trousers - Zara Shoes - New Look Necklace, earrings, ring: Stlists own

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Why is it the wedding dress has always been white?

Here at Juicebox we decided to dig deep into the history of traditional bridal gowns to get the answer to our question.

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It was back in the 1840’s that the white wedding dress became “traditional”. A common mistake made due to today’s society is that we believe the colour white represents a pure bride, when in actual fact it’s the colour blue that originally expressed this.

The white gown is in fact a symbolic christening gown.

But we before we get into that, let’s fast forward two centuries to the present day, and think about what having a white wedding dress means to us today. Is it simply tradition, like having a Christmas tree on Christmas Day? Or is it what it represents to us from being a single woman to becoming a married wife? It is one of the biggest days of our lives and will hold memories that we will cherish forever – assuming you don’t get a divorce of course. Regardless to this, it’s you that should be the star of the show, you want or should I say need, to look better than absolutely everyone coming to your wedding. Which is why you’ll be dressing all your bridesmaids in fluorescent pink, satin fabric, floor length dresses – just to be sure.

But the question still stands, why white?

The first famous woman to wear a white wedding gown was Mary Queen of Scots back in the early 1800’s. It then became popular by the mid 1800’s when Queen Victoria rocked her large white wedding dress down the aisle. It was then that it became apparent to those that had the money should wear white on their wedding day to represent their wealth, as they could afford a dress that they would only ever wear once. The prospect of this may seem strange to us as we all have items of clothing that are hanging in our wardrobes with the price tags still attached. 200 years ago, it was a luxury

to have such an item, which is perhaps why we feel the need to go bigger to be better, like those girls on My Big Fat Gypsy Wedding.

Although saying that we have had some truly incredibly stylish and classy British weddings. Take Kate Middleton and Price Williams wedding, besides the fact they are royalty, Kate’s gown, designed by Alexander McQueen was simply perfection. Grace Kelly, an American actress in the mid 1900’s, wore a white wedding dress that inspired thousands and quite possibly the cut and style of Kate Middleton’s dress too.

Why don’t we start venturing out and be a little more courageous with the chosen colour of our wedding dresses? Like the colour red. It is a beautiful bold shade that compliments many skin tones and screams “I’m a strong independent woman, even though I’m getting married!” Perhaps it’s because we all want to be perceived as a traditional pure bride, that will be there till death do us part. But it that all said simply through the colour of your wedding dress? I can’t help but feel that maybe it’s time we mixed things up a little and started expressing ourselves through our wedding dresses, just like we do on a day to day basis with our fashion sense.

Let’s be honest, it’s a day we’ve all been dreaming about and envisioning ever since we were little girls, whether you want to get married or not. With that being said, it’s your big day and you should feel like an absolute goddess in whatever you decide to wear.

If you do fancy getting a little inspiration or just have a browse, check out Monique Lhuillier spring/summer 2015 collection, for a splash of colour.

V&A WEDDING DRESS EXHIBITION

With the summer season fast approaching, so is the summer of love. With what feels like more weddings every year, it’s no surprise the V&A are hosting an exhibition dedicated to the event. They are treating us by giving us the chance to view a spectacular array of wedding gowns that date back to the 1700’s. With the brides dress being one (if not the) most important factor to having a perfect wedding. As a happy bride equals a happy wedding. It is going to be truly incredible to witness firsthand how such a traditional dress has changed and developed over the centuries.

TEXT: ABBIE NIROOMAND-RAD IMAGES: SAMM BATE

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From the 3rd of May until the 15th of March 2015, the Victoria and Albert Museum will be hosting this exhibition dedicated to the history of wedding dresses. There will be a truly beautiful display of designers, colours and textures. From John Galliano, Charles Frederick to Vivienne Westwood, it will be only the most romantic and extravagant gowns exhibited. The exhibition will highlight the histories of each wedding dress, revealing fascinating facts about the wearer. We believe this to be an experience you truly will not want to miss – especially if you are looking for a little inspiration! Grab your tickets now and check it out yourselves, book your tickets online at: www.lovetheatre.com Buy tickets to Wedding Dresses 1775-2014 Dates & Prices | LOVE Theatre

Events Looking for something to do this coming season? Look no further, Juicebox have compiled a list of must see events, exhibitions and shows for you to see!

Music

Silent Disco at The Shard, May 3rd-June 7th London Pop on your headphones and dance the night away at 1000 feet, as three Dj’s battle against each other playing the best pop, rock and dance classics, with stunning views from the 69th floor.

Latitude Festival-July 17th-20th Suffolk There’s something for everyone at Latitude, this family friendly festival offer up music, poetry, cabaret, film, comedy and everything in between. Set in grassy Suffolk hills, with fairy lit woods and a lake of Gondolas, Damon Albarn and Two Door Cinema Club are just a couple of names from this years bill.

Primavera Sound- Spain 29th-31st May 2014 Barcelona Offering the best rock, pop and dance acts for over a decade now.

This years line up already includes Queens of the stone age, disclosure, Haim, and The pixies. Primavera Sound is situated on the coast with some of it’s six stages on the beach itself. The festival is a great place to soak up music and the sun simultaneously, with other events going on in Barcelona in the week surrounding the festival.

The Garden festival 2nd-9th July Crotia The Garden Festival is Croatia’s most iconic electric event. The impressive setting attracts a global audience with its utopian beach and clear skies creating the perfect festival atmosphere, sound tracked by some of the worlds best live acts and DJ’s

food Eat Drink Bristol Fashion 1st May -18th May Bristol This food festival is set in a pop-up tipi village, complete with a tapas bar and live music every day. Each night top chefs will abandon their own restaurants to cook exquisite food for the public. The pop up restaurant returns for its third year for 18 days of tapas, live music and delicious food and drinks.

Feast in the woods-24th-26th May Located in a secret woodland location in Kent Hidden away from the hustle and bustle beneath a canopy of trees, Feast in the woods is about relaxation, exploring and celebrating good food. Highlights of the weekend include juice and cider tastings and coffee sampling sessions, there’s also a communal meal on Saturday night and a barbecue on Sunday where guests are encouraged to swim in the lake and row kayaks. There’s plenty to keep you occupied with talks, workshops and a cider barn on site. The festival encourages guests to take a look at the importance of good quality food, particularly with the rise of food banks, fast food and recent meat scandals.

The Big Feastival 29th-31st August Oxfordshire With huge acts on both the food and music stages, Jamie Oliver and Alex James have produced a festival line up to suit all appetites. This includes street food, pop up restaurants, live music, artisan food markets and family friendly fun and games. There’s also live cooking and tips from chefs and food experts such as Gizzi Erskine.

Way out West 7th-9th August Gothenburg, Sweden Set in Gothenburg woodland, the eco friendly Way out West festival is as famous for its cuisine than it’s music. This years line up boasts great acts such as Queens Of The Stone Age and Janelle Monáe, but the real talking point is the strict veggie policy which acts and guests must abide by, the environmentally friendly festival only serves vegetarian produce to reduce it’s carbon footprint.

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Slot Art Festival- 8th-12th July Poland Slot Art Festival is an energetic event featuring over 8 stages, 80 bands and 24 hour clubs, but it’s not all about music. There’s also film, theatre, galleries and 100 workshops on just about everything from Psychology, visual arts, performance and spirituality.

Vauxhall Art Car Boot Fair-June 8th The Old Truman Brewery Brick Lane London An unmissable event, differing from your usual Sunday bootsale.

The annual art car boot fair held in London’s Old Truman brewery, features work from over 70 British artists, you have the chance to pick up your own masterpiece with prices typically ranging from £10-£1,000. Previous participants have included Sir Peter Blake, Pam Hogg and Tracey Emin.

Scrap Club -June 2014 London Scrap club offers people the chance to smash things up for fun.

Old freezers, pianos and keyboards are piled up, safety equipment handed out, then guests are encouraged to have a smashing time with sledge hammers, crow bars and bats. Although purely a stress reliever for some, there is method to the madness as on site artists then turn the debris into masterpieces, which are put on display in the warehouse.

TEXT: PAIGE CRONIN ILLUSTRATIONS: MAYANG ADISTA PUTRI

Exit Festival 10th-13th July Serbia Celebrating its fifteenth year, Exit has recently been named as Europe’s best festival and is considered by many as one of the best venues in the world due to it being situated in the Petrovaradin fortress. The festival originally started as a student movement fighting for freedom and democracy in Serbia and the Balkans, and is run by a non-profit organization which stills fights to help youth in the Balkans. Acts this year include Rudimental and Skrillex.

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Holi Festival of Colours -28th-29th June Including London, France, Spain, Ireland, Italy Originally a Hindu tradition, the vibrant Holi festival takes place in India on the day of the full moon of the Phaluga month. Celebrating the victory of the good over bad at the beginning of Spring with hundreds of people throwing coloured powders simultaneously. Now celebrated in 30 cities worldwide, thousands of guests show up wearing white for a day of music, art, performance and colour.

MexFest- 25th-28th September London MexFest is an lively celebration of Mexican culture, from contemporary Mexican cinema, architecture, cuisine and music. The event brings together people in creative industries such as filmmaking and design to exchange ideas and promote collaboration and union between different nations. Spend the days eating tasty Mexican food and listening to live Mariachi bands.

Museums at night-May 15th-17th London A series of after hours events in the capitals best museums and quirky attractions, including Ghosts of The Royal Arsenal, a chance to visit Samuel Johnsons home by candlelight, and a murder mystery at ucl Museum.. A bit different from your usual stuffy museum trips.

Rooftop film club-1stMay-30thSeptember London The rooftop film club is back this Summer on two of London’s rooftops-Queen of Hoxton, Shoreditch and Bussey Building, Peckham Rye. Film lovers can relax with snacks and cold drinks whilst enjoying their favourite cult classics, or catching a new release. Comfy seats and wireless headphones mean you can relax without hearing the rustle of sweet papers or the annoying child behind kicking your chair ..now where’s the popcorn?!

Witness: art & civil rights in the sixties 7th March-6th July New York A look at paintings, graphics, photography and sculpture at The Brooklyn Museum. The exhibition focuses on the way in which the sixty-six artists featured used their art to address the racial prejudices, social disorder, discrimination and protesting which defined the decade. Artists formed an alliance with a campaign to end racial discrimination and bridge borders through their artwork as forms of protest.

British Folk Art Exhibition 10th June-August 30th London Over 100 paintings, sculptures, textiles and objects have been drawn together to challenge the idea of high art and celebrate folk art in the UK at Tate Britain this Summer. Folk art is less established in Britain than other countries, so the exhibition aims to praise and parade the pieces, from brightly coloured leather jugs, a fisherman’s nautical themed embroidery and an intricately pin cushion created by wounded soldiers during the Crimean war.

Kaz Oshiro: chasing ghosts –24th Jan-6th June Los Angeles County museum of art Oshiro creates convincing sculptures of everyday objects such as microwaves, bins, and filing cabinets, using paint and canvas. Oshiro is influenced by abstract expressionism, still life, minimalism and pop art.

fa s h i o n Dries Van Noten exhibition-March 1st- 31st Aug Paris A retrospective of the Belgian designer at Les Arts Decoratifs in Paris. The exhibition showcases his collections, along with film clips, photographs, and musical references. You can also take a look at Dries Van Noten’s creative processes and sources of inspiration for his pieces. The show is a must see for menswear and print and graphics research.

Charles james:Beyond Fashion 8th May-10th Aug New York The exhibition examining the works of the Twentieth century couturier Charles James, will take place at the newly renovated Costume Institute of The Metropolitan Museum of Art. James’ legendary gowns date from 1929-1978 covering many landmark moments of the 20th century. The exhibition explores his design processes and his use of scientific, sculptural and mathematic methods to construct his revolutionary garments, which still remain an influence to designers of today.

Hong Kong fashion and fine jewellery exhibition – June 19th-26th Hong Kong The Hong Kong jewellery and gem fair is celebrating it’s 27th year in 2014 at the Hong Kong convention and exhibition centre. The fair is reputed as on of Asia’s top three fine jewellery event, attracting thousands of visitors from around the world each year, showcasing beautiful jewels and offering an opportunity for brands to promote their jewellery on a global platform.

Edinburgh International Fashion Festival July 18th-28th Edinburgh Running over two weekends in July, the Edinburgh International Fashion Festival returns for its third year, having already made quite an impression on the international fashion scene. This year sees the festival evolve with a series of events happening across Edinburgh.

The fashion festival captivates audiences and the industry in exciting ways with exhibitions, catwalk shows, gala parties and talks in some of the cities best locations.

Vintage Fashion Awards-June 19th Birmingham The Vintage Fashion Awards were created to celebrate small, independent businesses that help keep the vintage scene alive. On Thursday 19th June, the best UK vintage brands will gather to enjoy a night of celebration and entertainment. The event includes live music and a lively after party.

SEEK July 8th -10th Germany SEEK is a contemporary fashion trade show held in Berlin. The bi-annual event focuses on modern clothes for independent minds.

Seek admit they don’t do fashion, they are not interested in fads and trends, instead they are passionate about silhouettes, textiles and design. The believe clothes are about attitude and they define your lifestyle. The exhibitors care about quality and timeless design, the exhibition celebrates good style, new labels and re-introducing new brands.